Welcome to another music quick tips video by http://emusicbranding.com
A Performing Rights Organization, also known as a PRO, is an organization that collects performing rights royalties on behalf of its members, music publishers, and composers. Once all the royalties are collected the PRO then deducts its service fees and distributes the rest to its members.
Here Are Some Reasons Why An Artist Should Join A PRO:
• Because A Performing Rights Agency helps monitor your radio and show performances so you can get paid
• The also help to introduce you to many professionals within the music industry such as music managers, A&R’s, Producers, Publishers & artists
• And they help license your music to Tv, Film, Theater, and Game Companies
So which PRO is the best? The truth is some Performing Rights Organizations may differ a bit in how they pay artists, but in general, they all provide the same services.
For more information on where to obtain a list of Performing Rights Organizations visit Emusicbranding.com
Performing Rights Agency Tags:
performing rights organization bmi
performing rights organization uk
which performing rights organization is the best
performance rights organization database
performing rights organization us
performance rights organization definition
why performing rights organizations are needed
performance rights shares

aPpKVg
-~-~~-~~~-~~-~-
Talking song business, there is a lot of legal jargon to sift through when understanding how to get paid for your music. You finally made your hit song, but when does the dough begin to trickle in? Making sense of it all is not that easy. Who makes the money from licensing fees? How are these fees divided up? Who do you even contact to get these performance rights? Wonder no longer! RenmanMB presents Sean O'Malley, SeniorDirector of Strategic Services for ASCAP, who skyped into the broadcast to answer all these questions and more. If you're looking to make money for all your creative hard work, make sure you do not miss this video!
If you're looking to do something great in today's music business than RenmanMB is for you! With over 90 live shows and 500+ videos, we're talking with the smartest, most talented artists and music professionals about today's music business. Founded by legendary Music Industry expert Steve Rennie, RenmanMB is your one stop for the best advice and education on today's music business.
For exclusive access to our content and site, become a member of our site by clicking here: http://www.renmanmb.com/community/register
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-------------------------
renman renmanmb "steve rennie" "manager" "band" "music" "music industry" "music and business" "renman music and business" "how to" business "indie music" musicians "rock music" label "record label" YouTube "YouTube music video" "A bad manager is worse than no manager at all" -Renman
Would you know your perfect manager if you met them? Check out our Tips From the Pros ManagementPDF to find out what you should be looking for in your search for the right manager. https://renmanu.com/wp-content/uploads/2015/12/Tips-from-the-Pros-Manager.pdf
"A bad manager is worse than no manager at all"-Renman
Would you know your perfect manager if you met them? Check out our Tip From the Pros Management PDF to find out what you should be looking for in your search for the right manager. https://renmanu.com/wp-content/uploads/2015/12/Tips-from-the-Pros-Manager.pdf

published:10 Jan 2013

views:5638

MusicProducers - http://dynamicproducer.com | Sign up for our free course, submit beats & get biz
Video: Music Copyrights, Split Sheets, Performance Rights Orgs with Richard Jefferson, Keonda Gaspard
Music Producer | Music Producer Interview | Music Producer Tips |How To Become A Music Producer | Music Producer Business | Music Producer Career | Music Producer Advice | Music Producer Motivation | Music Producer Contracts | Music Producer RoyaltiesReady to put your music, career and business into over-drive? JoinDynamicProducer today and get on the path towards becoming a successful music producer. Gain access to our exclusive suite of membership benefits including:
*constructive music feedback
*one-on-one music ​career counseling​
*​private music production & mix coaching
*music submission opportunities (labels/artists/tv/film, etc.)
*and much much more!!!!
Like this video? Share it & subscribe to our channel for updates!
Produced by Channel Dynamic exclusively for Dynamic Producer. All rights reserved.

in this clip from www.artistshousemusic.org - ASCAPMidwest Membership DirectorShawn Murphy provides a concise definition of "public performance," and explains the ways in which performing rights organizations drive revenue for both the licensees and the publishers. Related topics include what kinds of businesses require a license to "perform" music and why; how money is collected from these performances; and the role of public performance in the overall music marketplace.

published:19 Jan 2011

views:1073

ASCAP, BMI and SESAC...who are they and what do they do for songwriters and publishers? This video explains how these three US performance rights organizations work for writers and publishers to protect their rights and collect royalties on their behalf. We also look at what types of church activities require performance licenses.

published:02 Nov 2011

views:2271

While seen as a nuisance by some, PRS and PPL are great ways for musicians to make money; these societies allow musicians to collect the appropriate royalties owed to them. Unfortunately, even some of the most experienced musicians in the industry do not know about royalty collecting organisations and so miss out on what potentially could be thousands of pounds each year.
Some great places where music can generate a lot of royalties are on national radio stations, played live at large concerts and festivals, TV (both commercials and programmes) and YouTube videos where the view counts are into the millions.
Some see PRS and PPL as a hinderance - calling it "just another tax" but in reality these licenses are required so that the musicians who work hard to create the things people love are rewarded fairly. Music has always been a very difficult industry and the vast majority of those employed in this sector do not earn bucket loads of money (although the general public would probably believe otherwise).
The great thing about PRS is that just about any musician who's currently playing original songs at any live venue can claim PRS royalties. The typical royalty for a small pub gig would in most cases not amount to more than a pound but this quickly increases were one to play larger venues or even at festivals which typically pay very large PRS tarriffs that are distributed amongst the PRS members performing at that festival/venue. Please note that signing up with either PRS or PPL may take a week or two and that there is a £50 signing-up fee to join PRS but this is a one time only fee. You can't claim PRS royalties for performances in small venues if the songs were not registered with PRS at the time of the performance. Obviously to collect PRS royalties for a song you must have been the songwriter or at least have a writing credit.

In this clip from www.artistshousemusic.org - ASCAPMidwest Membership Director and music publishing teacher Shawn Murphy talks about the difficulties in applying the standard royalty model to new kinds of performances such as ring tones and streaming radio, which don't fit clearly into any existing performance category. In the absence of a new industry standard, Murphy talks about how he helps his students extrapolate ways to monetize performance rights in a changing landscape.

published:19 Jan 2011

views:388

Like these Rap Lessons !!! Check out the official app http://apple.co/1QQmwX4
Watch more How to Rap videos: http://www.howcast.com/videos/512499-Join-a-Performing-Rights-Organization-Rap-Music
The reason you should join a performing rights organization is you want to get paid. You want to make money in the music business, you must join a performing rights organization. Because, when a record or music plays on television, in a club or on the radio, there's no way to track who and when that music is being played.
So, performing rights organizations are set up to work with record labels, recording artists, performing venues to pay artists for the use of their song. So, when you listen to the radio and you hear a song by Jay-Z, you're listening because that song that you like is going to be played, but then there's a commercial. That means that that radio station is making money from your song. So, you need to be paid for your song.
So, performing rights organizations go out there, and they are kind of your bodyguard that protects you from being robbed or taken advantage of by radio stations, television stations who play your music and don't pay you for it.
So there are three performing rights organizations you can sign up with. There's ASCAP, there's BMI, and there's SESAC, alright? They primarily do the same things, which is work with radio stations and all the performance venues that play music, to pay artists for the use of their songs. And that's why you should join a performing rights organization.

Performing rights

Performing rights are the right to perform music in public. It is part of copyright law and demands payment to the music’s composer/lyricist and publisher (with the royalties generally split 50/50 between the two). Public performance means that a musician or group who is not the copyright holder is performing a piece of music live, as opposed to the playback of a pre-recorded song. Performances are considered "public" if they take place in a public place and the audience is outside of a normal circle of friends and family, including concerts, nightclubs, restaurants etc. Public performance also includes broadcast and cable television, radio, and any other transmitted performance of a live song.

Permission to publicly perform a song must be obtained from the copyright holder or a collective rights organization.

In the United States, broadcasters can pay for their use of music in one of two ways: they can obtain permission/license directly from the music’s copyright owner (usually the publisher), or they can obtain a license from ASCAP, BMI and SESAC to use all of the music in their repertoires. ASCAP, BMI and SESAC are the three performing rights societies in the U.S. and once they receive payment from the broadcasters they are responsible for compensating the music authors and publisher.

Performance

A performance, in the performing arts, generally comprises an event in which a performer or group of performers present one or more works of art to an audience. Usually the performers participate in rehearsals beforehand. Afterwards audience members often applaud. After a performance, performance measurement sometimes occurs. Performance measurement is the process of collecting, analyzing and reporting information regarding the performance of an individual, group, organization, system or component.

The means of expressing appreciation can vary by culture. Chinese performers will clap with the audience at the end of a performance; the return applause signals "thank you" to the audience. In Japan, folk performing-arts performances commonly attract individuals who take photographs, sometimes getting up to the stage and within inches of performer's faces.

Sometimes the dividing line between performer and the audience may become blurred, as in the example of "participatory theatre" where audience members get involved in the production.

Record producer

A record producer (or music producer) has a very broad role in overseeing and managing the recording (i.e. "production") of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, selecting songs and/or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, and supervising the entire process through audio mixing (recorded music) and, in some cases, to the audio mastering stage. Producers also often take on a wider entrepreneurial role, with responsibility for the budget, schedules, contracts, and negotiations.

In the 2010s, the recording industry has two kinds of producers with different roles: executive producer and music producer. Executive producers oversee project finances while music producers oversee the creation of music.

A music producer can, in some cases, be compared to a film director, with noted practitioner Phil Ek describing his role as "the person who creatively guides or directs the process of making a record, like a director would a movie. The audio engineering [person] would be more the cameraman of the movie." Indeed, in Bollywood music, the designation actually is music director. The music producer's job is to create, shape, and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album– in which case the producer will typically develop an overall vision for the album and how the various songs may interrelate.

ASCAP collects licensing fees from users of music created by ASCAP members, then distributes them back to its members as royalties. In effect, the arrangement is the product of a compromise: when a song is played, the user does not have to pay the copyright holder directly, nor does the music creator have to bill a radio station for use of a song.

In 2012, ASCAP collected over US$941 million in licensing fees and distributed $828.7 million in royalties to its members, with an 11.6 percent operating expense ratio. As of July 2013, ASCAP membership included over 460,000 songwriters, composers, and music publishers.

What Is A Performing Rights Organization?

Welcome to another music quick tips video by http://emusicbranding.com
A Performing Rights Organization, also known as a PRO, is an organization that collects performing rights royalties on behalf of its members, music publishers, and composers. Once all the royalties are collected the PRO then deducts its service fees and distributes the rest to its members.
Here Are Some Reasons Why An Artist Should Join A PRO:
• Because A Performing Rights Agency helps monitor your radio and show performances so you can get paid
• The also help to introduce you to many professionals within the music industry such as music managers, A&R’s, Producers, Publishers & artists
• And they help license your music to Tv, Film, Theater, and Game Companies
So which PRO is the best? The truth is some Performing Rights Organizations may differ a bit in how they pay artists, but in general, they all provide the same services.
For more information on where to obtain a list of Performing Rights Organizations visit Emusicbranding.com
Performing Rights Agency Tags:
performing rights organization bmi
performing rights organization uk
which performing rights organization is the best
performance rights organization database
performing rights organization us
performance rights organization definition
why performing rights organizations are needed
performance rights shares

aPpKVg
-~-~~-~~~-~~-~-
Talking song business, there is a lot of legal jargon to sift through when understanding how to get paid for your music. You finally made your hit song, but when does the dough begin to trickle in? Making sense of it all is not that easy. Who makes the money from licensing fees? How are these fees divided up? Who do you even contact to get these performance rights? Wonder no longer! RenmanMB presents Sean O'Malley, SeniorDirector of Strategic Services for ASCAP, who skyped into the broadcast to answer all these questions and more. If you're looking to make money for all your creative hard work, make sure you do not miss this video!
If you're looking to do something great in today's music business than RenmanMB is for you! With over 90 live shows and 500+ videos, we're talking with the smartest, most talented artists and music professionals about today's music business. Founded by legendary Music Industry expert Steve Rennie, RenmanMB is your one stop for the best advice and education on today's music business.
For exclusive access to our content and site, become a member of our site by clicking here: http://www.renmanmb.com/community/register
Don't have a manager but have a question for the Renman? #AskRenman! Click here to submit your question and the Renman will personally answer it: http://www.renmanmb.com/ask-renman/
Be sure to subscribe to our YouTube page for new content updated weekly!http://bit.ly/subscribeRENMANMB
Find RenmanMB on social media:
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Soundcloud: https://soundcloud.com/renman-live
-------------------------
renman renmanmb "steve rennie" "manager" "band" "music" "music industry" "music and business" "renman music and business" "how to" business "indie music" musicians "rock music" label "record label" YouTube "YouTube music video" "A bad manager is worse than no manager at all" -Renman
Would you know your perfect manager if you met them? Check out our Tips From the Pros ManagementPDF to find out what you should be looking for in your search for the right manager. https://renmanu.com/wp-content/uploads/2015/12/Tips-from-the-Pros-Manager.pdf
"A bad manager is worse than no manager at all"-Renman
Would you know your perfect manager if you met them? Check out our Tip From the Pros Management PDF to find out what you should be looking for in your search for the right manager. https://renmanu.com/wp-content/uploads/2015/12/Tips-from-the-Pros-Manager.pdf

MusicProducers - http://dynamicproducer.com | Sign up for our free course, submit beats & get biz
Video: Music Copyrights, Split Sheets, Performance Rights Orgs with Richard Jefferson, Keonda Gaspard
Music Producer | Music Producer Interview | Music Producer Tips |How To Become A Music Producer | Music Producer Business | Music Producer Career | Music Producer Advice | Music Producer Motivation | Music Producer Contracts | Music Producer RoyaltiesReady to put your music, career and business into over-drive? JoinDynamicProducer today and get on the path towards becoming a successful music producer. Gain access to our exclusive suite of membership benefits including:
*constructive music feedback
*one-on-one music ​career counseling​
*​private music production & mix coaching
*music submission opportunities (labels/artists/tv/film, etc.)
*and much much more!!!!
Like this video? Share it & subscribe to our channel for updates!
Produced by Channel Dynamic exclusively for Dynamic Producer. All rights reserved.

Understanding The Right of Public Performance: How it Generates Money

in this clip from www.artistshousemusic.org - ASCAPMidwest Membership DirectorShawn Murphy provides a concise definition of "public performance," and explains the ways in which performing rights organizations drive revenue for both the licensees and the publishers. Related topics include what kinds of businesses require a license to "perform" music and why; how money is collected from these performances; and the role of public performance in the overall music marketplace.

2:27

Performance Rights Organizations

Performance Rights Organizations

Performance Rights Organizations

ASCAP, BMI and SESAC...who are they and what do they do for songwriters and publishers? This video explains how these three US performance rights organizations work for writers and publishers to protect their rights and collect royalties on their behalf. We also look at what types of church activities require performance licenses.

5:35

PRS And PPL Explained

PRS And PPL Explained

PRS And PPL Explained

While seen as a nuisance by some, PRS and PPL are great ways for musicians to make money; these societies allow musicians to collect the appropriate royalties owed to them. Unfortunately, even some of the most experienced musicians in the industry do not know about royalty collecting organisations and so miss out on what potentially could be thousands of pounds each year.
Some great places where music can generate a lot of royalties are on national radio stations, played live at large concerts and festivals, TV (both commercials and programmes) and YouTube videos where the view counts are into the millions.
Some see PRS and PPL as a hinderance - calling it "just another tax" but in reality these licenses are required so that the musicians who work hard to create the things people love are rewarded fairly. Music has always been a very difficult industry and the vast majority of those employed in this sector do not earn bucket loads of money (although the general public would probably believe otherwise).
The great thing about PRS is that just about any musician who's currently playing original songs at any live venue can claim PRS royalties. The typical royalty for a small pub gig would in most cases not amount to more than a pound but this quickly increases were one to play larger venues or even at festivals which typically pay very large PRS tarriffs that are distributed amongst the PRS members performing at that festival/venue. Please note that signing up with either PRS or PPL may take a week or two and that there is a £50 signing-up fee to join PRS but this is a one time only fee. You can't claim PRS royalties for performances in small venues if the songs were not registered with PRS at the time of the performance. Obviously to collect PRS royalties for a song you must have been the songwriter or at least have a writing credit.

A Game with No Rules: Making Sense of Performance Rights in the Age of New Media

A Game with No Rules: Making Sense of Performance Rights in the Age of New Media

A Game with No Rules: Making Sense of Performance Rights in the Age of New Media

In this clip from www.artistshousemusic.org - ASCAPMidwest Membership Director and music publishing teacher Shawn Murphy talks about the difficulties in applying the standard royalty model to new kinds of performances such as ring tones and streaming radio, which don't fit clearly into any existing performance category. In the absence of a new industry standard, Murphy talks about how he helps his students extrapolate ways to monetize performance rights in a changing landscape.

1:45

Join a Performing Rights Organization | Rap Music

Join a Performing Rights Organization | Rap Music

Join a Performing Rights Organization | Rap Music

Like these Rap Lessons !!! Check out the official app http://apple.co/1QQmwX4
Watch more How to Rap videos: http://www.howcast.com/videos/512499-Join-a-Performing-Rights-Organization-Rap-Music
The reason you should join a performing rights organization is you want to get paid. You want to make money in the music business, you must join a performing rights organization. Because, when a record or music plays on television, in a club or on the radio, there's no way to track who and when that music is being played.
So, performing rights organizations are set up to work with record labels, recording artists, performing venues to pay artists for the use of their song. So, when you listen to the radio and you hear a song by Jay-Z, you're listening because that song that you like is going to be played, but then there's a commercial. That means that that radio station is making money from your song. So, you need to be paid for your song.
So, performing rights organizations go out there, and they are kind of your bodyguard that protects you from being robbed or taken advantage of by radio stations, television stations who play your music and don't pay you for it.
So there are three performing rights organizations you can sign up with. There's ASCAP, there's BMI, and there's SESAC, alright? They primarily do the same things, which is work with radio stations and all the performance venues that play music, to pay artists for the use of their songs. And that's why you should join a performing rights organization.

7:21

ASCAP vs BMI | Which PRO Is Right For You?

ASCAP vs BMI | Which PRO Is Right For You?

ASCAP vs BMI | Which PRO Is Right For You?

in ASCAP vs BMI I discuss what a Performance Rights Organization (PRO) is and which major United States organization you should consider.
Performing Rights Organizations are a must to be apart of, but you need to understand that they aren't going to launch your career. They are a piece of the royalty puzzle.
During my ASCAP vs BMI battle I discuss the two main differences which are...
1. Up front costs
2. RoyaltyDistribution
There is a third major player in the PRO world, and that is SESAC. SESAC however is an exclusive society. You have to apply, get invited, or be recommended by another member to get in.
Currently on their website they are not taking any unsolicited applications.
In this ASCAP vs BMI video I also touch on the history of PRO's, Publishing Admin, and non-interactive digital royalties.
For my break down of publishing admin companies like CD Baby and Tunecore please check out my resource ... https://youtu.be/dFRP5PQG_Xk
Another good resource on a similar topic is my video Music Directories | Are Resources Like The IndieBibleWorth It? Check it out here ... https://youtu.be/EBpiaUqLQH4
I hope that this video helps you along your journey to getting paid!
*editors note* ASCAP will collect non-interactive streaming royalties as well for copyright holders. SoundExchange collects for Master Recording Owners and Performers. For full explanation please visit https://johnson.audio/ascap-vs-bmi
Follow Me On:
FB - https://www.facebook.com/bradjohnsonproject
IG - @bradjohnsonaudio
Twitter - https://www.twitter.com/bjohnsonaudio
Snapchat - @bradjohnsonaudio

2:52

Entertainment Business Basics: Performance Rights Organizations

Entertainment Business Basics: Performance Rights Organizations

Entertainment Business Basics: Performance Rights Organizations

Law Clerk J.P.Urban explains what performance rights organizations (a/k/a PROs) are and how they help songwriters and music publishers receive payments from venues in which their songs are performed.

Publishing Deals and Performance Rights Organizations

In this http://www.artistshousemusic.org video, WallaceCollins, an entertainment attorney based in New York, explains how music publishing deals typically work, the role that performance rights societies (such as BMI, ASCAP and SESAC) play in managing publishing arrangements -- and the murky question of just how much money they get for their assistance.

3:05

Shawn Murphy On The Benefits of Registering Songs with a Performing Rights Organization

Shawn Murphy On The Benefits of Registering Songs with a Performing Rights Organization

Shawn Murphy On The Benefits of Registering Songs with a Performing Rights Organization

In this clip from www.artistshousemusic.org - ASCAPMidwest Membership DirectorShawn Murphy offers advice to songwriters on how and when to register a song with a performing rights organization, and warns of the consequences of waiting too long to do so.

5:13

Rapper Marketing 911 - What is the Difference Between ASCAP & BMI?

Rapper Marketing 911 - What is the Difference Between ASCAP & BMI?

Rapper Marketing 911 - What is the Difference Between ASCAP & BMI?

Rapper Marketing 911 - What is the Difference Between ASCAP & BMI?
Rappers, being apart of a Performance Rights Organization is one of those things we hear on a consistent basis that we should be apart of, however many of us are unsure what their role is in our career. Here's a simplified explanation of the role and difference between PROs ASCAP & BMI.
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4:35

Registering Works with Performing Rights Societies (PROs)

Registering Works with Performing Rights Societies (PROs)

Registering Works with Performing Rights Societies (PROs)

This quick video shows you how to register your works (music) with Performing Rights Societies (PROs).

What Is A Performing Rights Organization?

Welcome to another music quick tips video by http://emusicbranding.com
A Performing Rights Organization, also known as a PRO, is an organization that collects performing rights royalties on behalf of its members, music publishers, and composers. Once all the royalties are collected the PRO then deducts its service fees and distributes the rest to its members.
Here Are Some Reasons Why An Artist Should Join A PRO:
• Because A Performing Rights Agency helps monitor your radio and show performances so you can get paid
• The also help to introduce you to many professionals within the music industry such as music managers, A&R’s, Producers, Publishers & artists
• And they help license your music to Tv, Film, Theater, and Game Companies
So which PRO is the best? The truth is some Performing ...

aPpKVg
-~-~~-~~~-~~-~-
Talking song business, there is a lot of legal jargon to sift through when understanding how to get paid for your music. You finally made your hit song, but when does the dough begin to trickle in? Making sense of it all is not that easy. Who makes the money from licensing fees? How are these fees divided up? Who do you even contact to get these performance rights? Wonder no longer! RenmanMB presents Sean O'Malley, SeniorDirector of Strategic Services for ASCAP, who skyped into the broadcast to answer all these questions and more. If you're looking to make money for all your creative hard work, make sure you do not miss this video!
If you're looking to do something great in today's music business than RenmanMB is for you! With over 90 live shows and 500+ ...

Understanding The Right of Public Performance: How it Generates Money

in this clip from www.artistshousemusic.org - ASCAPMidwest Membership DirectorShawn Murphy provides a concise definition of "public performance," and explains the ways in which performing rights organizations drive revenue for both the licensees and the publishers. Related topics include what kinds of businesses require a license to "perform" music and why; how money is collected from these performances; and the role of public performance in the overall music marketplace.

published: 19 Jan 2011

Performance Rights Organizations

ASCAP, BMI and SESAC...who are they and what do they do for songwriters and publishers? This video explains how these three US performance rights organizations work for writers and publishers to protect their rights and collect royalties on their behalf. We also look at what types of church activities require performance licenses.

published: 02 Nov 2011

PRS And PPL Explained

While seen as a nuisance by some, PRS and PPL are great ways for musicians to make money; these societies allow musicians to collect the appropriate royalties owed to them. Unfortunately, even some of the most experienced musicians in the industry do not know about royalty collecting organisations and so miss out on what potentially could be thousands of pounds each year.
Some great places where music can generate a lot of royalties are on national radio stations, played live at large concerts and festivals, TV (both commercials and programmes) and YouTube videos where the view counts are into the millions.
Some see PRS and PPL as a hinderance - calling it "just another tax" but in reality these licenses are required so that the musicians who work hard to create the things people love a...

A Game with No Rules: Making Sense of Performance Rights in the Age of New Media

In this clip from www.artistshousemusic.org - ASCAPMidwest Membership Director and music publishing teacher Shawn Murphy talks about the difficulties in applying the standard royalty model to new kinds of performances such as ring tones and streaming radio, which don't fit clearly into any existing performance category. In the absence of a new industry standard, Murphy talks about how he helps his students extrapolate ways to monetize performance rights in a changing landscape.

published: 19 Jan 2011

Join a Performing Rights Organization | Rap Music

Like these Rap Lessons !!! Check out the official app http://apple.co/1QQmwX4
Watch more How to Rap videos: http://www.howcast.com/videos/512499-Join-a-Performing-Rights-Organization-Rap-Music
The reason you should join a performing rights organization is you want to get paid. You want to make money in the music business, you must join a performing rights organization. Because, when a record or music plays on television, in a club or on the radio, there's no way to track who and when that music is being played.
So, performing rights organizations are set up to work with record labels, recording artists, performing venues to pay artists for the use of their song. So, when you listen to the radio and you hear a song by Jay-Z, you're listening because that song that you like is going to...

published: 30 Aug 2013

ASCAP vs BMI | Which PRO Is Right For You?

in ASCAP vs BMI I discuss what a Performance Rights Organization (PRO) is and which major United States organization you should consider.
Performing Rights Organizations are a must to be apart of, but you need to understand that they aren't going to launch your career. They are a piece of the royalty puzzle.
During my ASCAP vs BMI battle I discuss the two main differences which are...
1. Up front costs
2. RoyaltyDistribution
There is a third major player in the PRO world, and that is SESAC. SESAC however is an exclusive society. You have to apply, get invited, or be recommended by another member to get in.
Currently on their website they are not taking any unsolicited applications.
In this ASCAP vs BMI video I also touch on the history of PRO's, Publishing Admin, and non-interactive...

published: 29 Oct 2017

Entertainment Business Basics: Performance Rights Organizations

Law Clerk J.P.Urban explains what performance rights organizations (a/k/a PROs) are and how they help songwriters and music publishers receive payments from venues in which their songs are performed.

Publishing Deals and Performance Rights Organizations

In this http://www.artistshousemusic.org video, WallaceCollins, an entertainment attorney based in New York, explains how music publishing deals typically work, the role that performance rights societies (such as BMI, ASCAP and SESAC) play in managing publishing arrangements -- and the murky question of just how much money they get for their assistance.

published: 06 Jun 2008

Shawn Murphy On The Benefits of Registering Songs with a Performing Rights Organization

In this clip from www.artistshousemusic.org - ASCAPMidwest Membership DirectorShawn Murphy offers advice to songwriters on how and when to register a song with a performing rights organization, and warns of the consequences of waiting too long to do so.

What Is A Performing Rights Organization?

Welcome to another music quick tips video by http://emusicbranding.com
A Performing Rights Organization, also known as a PRO, is an organization that collects ...

Welcome to another music quick tips video by http://emusicbranding.com
A Performing Rights Organization, also known as a PRO, is an organization that collects performing rights royalties on behalf of its members, music publishers, and composers. Once all the royalties are collected the PRO then deducts its service fees and distributes the rest to its members.
Here Are Some Reasons Why An Artist Should Join A PRO:
• Because A Performing Rights Agency helps monitor your radio and show performances so you can get paid
• The also help to introduce you to many professionals within the music industry such as music managers, A&R’s, Producers, Publishers & artists
• And they help license your music to Tv, Film, Theater, and Game Companies
So which PRO is the best? The truth is some Performing Rights Organizations may differ a bit in how they pay artists, but in general, they all provide the same services.
For more information on where to obtain a list of Performing Rights Organizations visit Emusicbranding.com
Performing Rights Agency Tags:
performing rights organization bmi
performing rights organization uk
which performing rights organization is the best
performance rights organization database
performing rights organization us
performance rights organization definition
why performing rights organizations are needed
performance rights shares

Welcome to another music quick tips video by http://emusicbranding.com
A Performing Rights Organization, also known as a PRO, is an organization that collects performing rights royalties on behalf of its members, music publishers, and composers. Once all the royalties are collected the PRO then deducts its service fees and distributes the rest to its members.
Here Are Some Reasons Why An Artist Should Join A PRO:
• Because A Performing Rights Agency helps monitor your radio and show performances so you can get paid
• The also help to introduce you to many professionals within the music industry such as music managers, A&R’s, Producers, Publishers & artists
• And they help license your music to Tv, Film, Theater, and Game Companies
So which PRO is the best? The truth is some Performing Rights Organizations may differ a bit in how they pay artists, but in general, they all provide the same services.
For more information on where to obtain a list of Performing Rights Organizations visit Emusicbranding.com
Performing Rights Agency Tags:
performing rights organization bmi
performing rights organization uk
which performing rights organization is the best
performance rights organization database
performing rights organization us
performance rights organization definition
why performing rights organizations are needed
performance rights shares

aPpKVg
-~-~~-~~~-~~-~-
Talking song business, there is a lot of legal jargon to sift through when understanding how to get paid for your music. You finally m...

aPpKVg
-~-~~-~~~-~~-~-
Talking song business, there is a lot of legal jargon to sift through when understanding how to get paid for your music. You finally made your hit song, but when does the dough begin to trickle in? Making sense of it all is not that easy. Who makes the money from licensing fees? How are these fees divided up? Who do you even contact to get these performance rights? Wonder no longer! RenmanMB presents Sean O'Malley, SeniorDirector of Strategic Services for ASCAP, who skyped into the broadcast to answer all these questions and more. If you're looking to make money for all your creative hard work, make sure you do not miss this video!
If you're looking to do something great in today's music business than RenmanMB is for you! With over 90 live shows and 500+ videos, we're talking with the smartest, most talented artists and music professionals about today's music business. Founded by legendary Music Industry expert Steve Rennie, RenmanMB is your one stop for the best advice and education on today's music business.
For exclusive access to our content and site, become a member of our site by clicking here: http://www.renmanmb.com/community/register
Don't have a manager but have a question for the Renman? #AskRenman! Click here to submit your question and the Renman will personally answer it: http://www.renmanmb.com/ask-renman/
Be sure to subscribe to our YouTube page for new content updated weekly!http://bit.ly/subscribeRENMANMB
Find RenmanMB on social media:
Facebook: http://www.facebook.com/renmanmb
Twitter: http://www.twitter.com/renmanmb
Google+: http://plus.google.com/renmanmb
Instagram: http://www.instagram.com/renmanmb
Soundcloud: https://soundcloud.com/renman-live
-------------------------
renman renmanmb "steve rennie" "manager" "band" "music" "music industry" "music and business" "renman music and business" "how to" business "indie music" musicians "rock music" label "record label" YouTube "YouTube music video" "A bad manager is worse than no manager at all" -Renman
Would you know your perfect manager if you met them? Check out our Tips From the Pros ManagementPDF to find out what you should be looking for in your search for the right manager. https://renmanu.com/wp-content/uploads/2015/12/Tips-from-the-Pros-Manager.pdf
"A bad manager is worse than no manager at all"-Renman
Would you know your perfect manager if you met them? Check out our Tip From the Pros Management PDF to find out what you should be looking for in your search for the right manager. https://renmanu.com/wp-content/uploads/2015/12/Tips-from-the-Pros-Manager.pdf

aPpKVg
-~-~~-~~~-~~-~-
Talking song business, there is a lot of legal jargon to sift through when understanding how to get paid for your music. You finally made your hit song, but when does the dough begin to trickle in? Making sense of it all is not that easy. Who makes the money from licensing fees? How are these fees divided up? Who do you even contact to get these performance rights? Wonder no longer! RenmanMB presents Sean O'Malley, SeniorDirector of Strategic Services for ASCAP, who skyped into the broadcast to answer all these questions and more. If you're looking to make money for all your creative hard work, make sure you do not miss this video!
If you're looking to do something great in today's music business than RenmanMB is for you! With over 90 live shows and 500+ videos, we're talking with the smartest, most talented artists and music professionals about today's music business. Founded by legendary Music Industry expert Steve Rennie, RenmanMB is your one stop for the best advice and education on today's music business.
For exclusive access to our content and site, become a member of our site by clicking here: http://www.renmanmb.com/community/register
Don't have a manager but have a question for the Renman? #AskRenman! Click here to submit your question and the Renman will personally answer it: http://www.renmanmb.com/ask-renman/
Be sure to subscribe to our YouTube page for new content updated weekly!http://bit.ly/subscribeRENMANMB
Find RenmanMB on social media:
Facebook: http://www.facebook.com/renmanmb
Twitter: http://www.twitter.com/renmanmb
Google+: http://plus.google.com/renmanmb
Instagram: http://www.instagram.com/renmanmb
Soundcloud: https://soundcloud.com/renman-live
-------------------------
renman renmanmb "steve rennie" "manager" "band" "music" "music industry" "music and business" "renman music and business" "how to" business "indie music" musicians "rock music" label "record label" YouTube "YouTube music video" "A bad manager is worse than no manager at all" -Renman
Would you know your perfect manager if you met them? Check out our Tips From the Pros ManagementPDF to find out what you should be looking for in your search for the right manager. https://renmanu.com/wp-content/uploads/2015/12/Tips-from-the-Pros-Manager.pdf
"A bad manager is worse than no manager at all"-Renman
Would you know your perfect manager if you met them? Check out our Tip From the Pros Management PDF to find out what you should be looking for in your search for the right manager. https://renmanu.com/wp-content/uploads/2015/12/Tips-from-the-Pros-Manager.pdf

MusicProducers - http://dynamicproducer.com | Sign up for our free course, submit beats & get biz
Video: Music Copyrights, Split Sheets, Performance Rights Orgs with Richard Jefferson, Keonda Gaspard
Music Producer | Music Producer Interview | Music Producer Tips |How To Become A Music Producer | Music Producer Business | Music Producer Career | Music Producer Advice | Music Producer Motivation | Music Producer Contracts | Music Producer RoyaltiesReady to put your music, career and business into over-drive? JoinDynamicProducer today and get on the path towards becoming a successful music producer. Gain access to our exclusive suite of membership benefits including:
*constructive music feedback
*one-on-one music ​career counseling​
*​private music production & mix coaching
*music submission opportunities (labels/artists/tv/film, etc.)
*and much much more!!!!
Like this video? Share it & subscribe to our channel for updates!
Produced by Channel Dynamic exclusively for Dynamic Producer. All rights reserved.

MusicProducers - http://dynamicproducer.com | Sign up for our free course, submit beats & get biz
Video: Music Copyrights, Split Sheets, Performance Rights Orgs with Richard Jefferson, Keonda Gaspard
Music Producer | Music Producer Interview | Music Producer Tips |How To Become A Music Producer | Music Producer Business | Music Producer Career | Music Producer Advice | Music Producer Motivation | Music Producer Contracts | Music Producer RoyaltiesReady to put your music, career and business into over-drive? JoinDynamicProducer today and get on the path towards becoming a successful music producer. Gain access to our exclusive suite of membership benefits including:
*constructive music feedback
*one-on-one music ​career counseling​
*​private music production & mix coaching
*music submission opportunities (labels/artists/tv/film, etc.)
*and much much more!!!!
Like this video? Share it & subscribe to our channel for updates!
Produced by Channel Dynamic exclusively for Dynamic Producer. All rights reserved.

in this clip from www.artistshousemusic.org - ASCAPMidwest Membership DirectorShawn Murphy provides a concise definition of "public performance," and explains the ways in which performing rights organizations drive revenue for both the licensees and the publishers. Related topics include what kinds of businesses require a license to "perform" music and why; how money is collected from these performances; and the role of public performance in the overall music marketplace.

in this clip from www.artistshousemusic.org - ASCAPMidwest Membership DirectorShawn Murphy provides a concise definition of "public performance," and explains the ways in which performing rights organizations drive revenue for both the licensees and the publishers. Related topics include what kinds of businesses require a license to "perform" music and why; how money is collected from these performances; and the role of public performance in the overall music marketplace.

Performance Rights Organizations

ASCAP, BMI and SESAC...who are they and what do they do for songwriters and publishers? This video explains how these three US performance rights organizations ...

ASCAP, BMI and SESAC...who are they and what do they do for songwriters and publishers? This video explains how these three US performance rights organizations work for writers and publishers to protect their rights and collect royalties on their behalf. We also look at what types of church activities require performance licenses.

ASCAP, BMI and SESAC...who are they and what do they do for songwriters and publishers? This video explains how these three US performance rights organizations work for writers and publishers to protect their rights and collect royalties on their behalf. We also look at what types of church activities require performance licenses.

PRS And PPL Explained

While seen as a nuisance by some, PRS and PPL are great ways for musicians to make money; these societies allow musicians to collect the appropriate royalties o...

While seen as a nuisance by some, PRS and PPL are great ways for musicians to make money; these societies allow musicians to collect the appropriate royalties owed to them. Unfortunately, even some of the most experienced musicians in the industry do not know about royalty collecting organisations and so miss out on what potentially could be thousands of pounds each year.
Some great places where music can generate a lot of royalties are on national radio stations, played live at large concerts and festivals, TV (both commercials and programmes) and YouTube videos where the view counts are into the millions.
Some see PRS and PPL as a hinderance - calling it "just another tax" but in reality these licenses are required so that the musicians who work hard to create the things people love are rewarded fairly. Music has always been a very difficult industry and the vast majority of those employed in this sector do not earn bucket loads of money (although the general public would probably believe otherwise).
The great thing about PRS is that just about any musician who's currently playing original songs at any live venue can claim PRS royalties. The typical royalty for a small pub gig would in most cases not amount to more than a pound but this quickly increases were one to play larger venues or even at festivals which typically pay very large PRS tarriffs that are distributed amongst the PRS members performing at that festival/venue. Please note that signing up with either PRS or PPL may take a week or two and that there is a £50 signing-up fee to join PRS but this is a one time only fee. You can't claim PRS royalties for performances in small venues if the songs were not registered with PRS at the time of the performance. Obviously to collect PRS royalties for a song you must have been the songwriter or at least have a writing credit.

While seen as a nuisance by some, PRS and PPL are great ways for musicians to make money; these societies allow musicians to collect the appropriate royalties owed to them. Unfortunately, even some of the most experienced musicians in the industry do not know about royalty collecting organisations and so miss out on what potentially could be thousands of pounds each year.
Some great places where music can generate a lot of royalties are on national radio stations, played live at large concerts and festivals, TV (both commercials and programmes) and YouTube videos where the view counts are into the millions.
Some see PRS and PPL as a hinderance - calling it "just another tax" but in reality these licenses are required so that the musicians who work hard to create the things people love are rewarded fairly. Music has always been a very difficult industry and the vast majority of those employed in this sector do not earn bucket loads of money (although the general public would probably believe otherwise).
The great thing about PRS is that just about any musician who's currently playing original songs at any live venue can claim PRS royalties. The typical royalty for a small pub gig would in most cases not amount to more than a pound but this quickly increases were one to play larger venues or even at festivals which typically pay very large PRS tarriffs that are distributed amongst the PRS members performing at that festival/venue. Please note that signing up with either PRS or PPL may take a week or two and that there is a £50 signing-up fee to join PRS but this is a one time only fee. You can't claim PRS royalties for performances in small venues if the songs were not registered with PRS at the time of the performance. Obviously to collect PRS royalties for a song you must have been the songwriter or at least have a writing credit.

In this clip from www.artistshousemusic.org - ASCAPMidwest Membership Director and music publishing teacher Shawn Murphy talks about the difficulties in applying the standard royalty model to new kinds of performances such as ring tones and streaming radio, which don't fit clearly into any existing performance category. In the absence of a new industry standard, Murphy talks about how he helps his students extrapolate ways to monetize performance rights in a changing landscape.

In this clip from www.artistshousemusic.org - ASCAPMidwest Membership Director and music publishing teacher Shawn Murphy talks about the difficulties in applying the standard royalty model to new kinds of performances such as ring tones and streaming radio, which don't fit clearly into any existing performance category. In the absence of a new industry standard, Murphy talks about how he helps his students extrapolate ways to monetize performance rights in a changing landscape.

Like these Rap Lessons !!! Check out the official app http://apple.co/1QQmwX4
Watch more How to Rap videos: http://www.howcast.com/videos/512499-Join-a-Performing-Rights-Organization-Rap-Music
The reason you should join a performing rights organization is you want to get paid. You want to make money in the music business, you must join a performing rights organization. Because, when a record or music plays on television, in a club or on the radio, there's no way to track who and when that music is being played.
So, performing rights organizations are set up to work with record labels, recording artists, performing venues to pay artists for the use of their song. So, when you listen to the radio and you hear a song by Jay-Z, you're listening because that song that you like is going to be played, but then there's a commercial. That means that that radio station is making money from your song. So, you need to be paid for your song.
So, performing rights organizations go out there, and they are kind of your bodyguard that protects you from being robbed or taken advantage of by radio stations, television stations who play your music and don't pay you for it.
So there are three performing rights organizations you can sign up with. There's ASCAP, there's BMI, and there's SESAC, alright? They primarily do the same things, which is work with radio stations and all the performance venues that play music, to pay artists for the use of their songs. And that's why you should join a performing rights organization.

Like these Rap Lessons !!! Check out the official app http://apple.co/1QQmwX4
Watch more How to Rap videos: http://www.howcast.com/videos/512499-Join-a-Performing-Rights-Organization-Rap-Music
The reason you should join a performing rights organization is you want to get paid. You want to make money in the music business, you must join a performing rights organization. Because, when a record or music plays on television, in a club or on the radio, there's no way to track who and when that music is being played.
So, performing rights organizations are set up to work with record labels, recording artists, performing venues to pay artists for the use of their song. So, when you listen to the radio and you hear a song by Jay-Z, you're listening because that song that you like is going to be played, but then there's a commercial. That means that that radio station is making money from your song. So, you need to be paid for your song.
So, performing rights organizations go out there, and they are kind of your bodyguard that protects you from being robbed or taken advantage of by radio stations, television stations who play your music and don't pay you for it.
So there are three performing rights organizations you can sign up with. There's ASCAP, there's BMI, and there's SESAC, alright? They primarily do the same things, which is work with radio stations and all the performance venues that play music, to pay artists for the use of their songs. And that's why you should join a performing rights organization.

in ASCAP vs BMI I discuss what a Performance Rights Organization (PRO) is and which major United States organization you should consider.
Performing Rights Organizations are a must to be apart of, but you need to understand that they aren't going to launch your career. They are a piece of the royalty puzzle.
During my ASCAP vs BMI battle I discuss the two main differences which are...
1. Up front costs
2. RoyaltyDistribution
There is a third major player in the PRO world, and that is SESAC. SESAC however is an exclusive society. You have to apply, get invited, or be recommended by another member to get in.
Currently on their website they are not taking any unsolicited applications.
In this ASCAP vs BMI video I also touch on the history of PRO's, Publishing Admin, and non-interactive digital royalties.
For my break down of publishing admin companies like CD Baby and Tunecore please check out my resource ... https://youtu.be/dFRP5PQG_Xk
Another good resource on a similar topic is my video Music Directories | Are Resources Like The IndieBibleWorth It? Check it out here ... https://youtu.be/EBpiaUqLQH4
I hope that this video helps you along your journey to getting paid!
*editors note* ASCAP will collect non-interactive streaming royalties as well for copyright holders. SoundExchange collects for Master Recording Owners and Performers. For full explanation please visit https://johnson.audio/ascap-vs-bmi
Follow Me On:
FB - https://www.facebook.com/bradjohnsonproject
IG - @bradjohnsonaudio
Twitter - https://www.twitter.com/bjohnsonaudio
Snapchat - @bradjohnsonaudio

in ASCAP vs BMI I discuss what a Performance Rights Organization (PRO) is and which major United States organization you should consider.
Performing Rights Organizations are a must to be apart of, but you need to understand that they aren't going to launch your career. They are a piece of the royalty puzzle.
During my ASCAP vs BMI battle I discuss the two main differences which are...
1. Up front costs
2. RoyaltyDistribution
There is a third major player in the PRO world, and that is SESAC. SESAC however is an exclusive society. You have to apply, get invited, or be recommended by another member to get in.
Currently on their website they are not taking any unsolicited applications.
In this ASCAP vs BMI video I also touch on the history of PRO's, Publishing Admin, and non-interactive digital royalties.
For my break down of publishing admin companies like CD Baby and Tunecore please check out my resource ... https://youtu.be/dFRP5PQG_Xk
Another good resource on a similar topic is my video Music Directories | Are Resources Like The IndieBibleWorth It? Check it out here ... https://youtu.be/EBpiaUqLQH4
I hope that this video helps you along your journey to getting paid!
*editors note* ASCAP will collect non-interactive streaming royalties as well for copyright holders. SoundExchange collects for Master Recording Owners and Performers. For full explanation please visit https://johnson.audio/ascap-vs-bmi
Follow Me On:
FB - https://www.facebook.com/bradjohnsonproject
IG - @bradjohnsonaudio
Twitter - https://www.twitter.com/bjohnsonaudio
Snapchat - @bradjohnsonaudio

Publishing Deals and Performance Rights Organizations

In this http://www.artistshousemusic.org video, WallaceCollins, an entertainment attorney based in New York, explains how music publishing deals typically work...

In this http://www.artistshousemusic.org video, WallaceCollins, an entertainment attorney based in New York, explains how music publishing deals typically work, the role that performance rights societies (such as BMI, ASCAP and SESAC) play in managing publishing arrangements -- and the murky question of just how much money they get for their assistance.

In this http://www.artistshousemusic.org video, WallaceCollins, an entertainment attorney based in New York, explains how music publishing deals typically work, the role that performance rights societies (such as BMI, ASCAP and SESAC) play in managing publishing arrangements -- and the murky question of just how much money they get for their assistance.

In this clip from www.artistshousemusic.org - ASCAPMidwest Membership DirectorShawn Murphy offers advice to songwriters on how and when to register a song with a performing rights organization, and warns of the consequences of waiting too long to do so.

In this clip from www.artistshousemusic.org - ASCAPMidwest Membership DirectorShawn Murphy offers advice to songwriters on how and when to register a song with a performing rights organization, and warns of the consequences of waiting too long to do so.

Rapper Marketing 911 - What is the Difference Between ASCAP & BMI?
Rappers, being apart of a Performance Rights Organization is one of those things we hear on a consistent basis that we should be apart of, however many of us are unsure what their role is in our career. Here's a simplified explanation of the role and difference between PROs ASCAP & BMI.
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Book a 1 on 1Consultation with Curtiss King: http://www.curtissking.com/1-on-1-with-curtiss.html
Musicians! Create Your Own WEBSITE :
https://www.youtube.com/watch?v=FBBF14WoC6c
TO LISTEN TO THE CURTISS KINGPODCAST
http://bit.ly/TheCurtissKingPodcast
LEARN HOW TO PROMOTE YOUR MUSIC RAPPERS & PRODUCERS
https://www.youtube.com/playlist?list=PLlkIyFBqsH7qV9S00H64wnxeoWBQP5Y-m
LISTEN TO BEATS BY CURTISS KING BEATS
https://www.curtisskingbeats.com/
GET THIS BOOK FOR MUSIC PRODUCERS
The ProsperousHip Hop Producer
https://www.curtisskingbeats.com/books.html
HOW TO CREATE A MUSIC PRODUCER WEBSITE TO SELL BEATS
http://musicproducerwebsite.com
HOW TO CREATE A RAPPER WEBSITE TO SELL MUSIC & MERCH
http://bit.ly/rapperwebsite
1 ON 1 RAPPER AND PRODUCER COACHING WITH CURTISS KING
http://1on1withcurtissking.com
LEARN HOW TO USE FL STUDIO
http://flstudiobeginnersclass.com
DRUMKITS FOR MUSIC PRODUCERS
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CONNECT WITH CURTISS KING ONLINE
http://Instagram.com/CurtissKing
http://Twitter.com/CurtissKing
http://CurtissKingBeats.com

Rapper Marketing 911 - What is the Difference Between ASCAP & BMI?
Rappers, being apart of a Performance Rights Organization is one of those things we hear on a consistent basis that we should be apart of, however many of us are unsure what their role is in our career. Here's a simplified explanation of the role and difference between PROs ASCAP & BMI.
Subscribe! ► http://bit.ly/Sub2CurtissKingTV
Website ► http://CurtissKing.com
EmailList ► http://bit.ly/1qD1v8E
Curtiss KingRecording Artist, Music Producer, & Consultant
http://www.CurtissKingBeats.com
Facebook ► http://Facebook.com/MyCurtissKingBeats
Twitter ► http://Twitter.com/CurtissKing
Book a 1 on 1Consultation with Curtiss King: http://www.curtissking.com/1-on-1-with-curtiss.html
Musicians! Create Your Own WEBSITE :
https://www.youtube.com/watch?v=FBBF14WoC6c
TO LISTEN TO THE CURTISS KINGPODCAST
http://bit.ly/TheCurtissKingPodcast
LEARN HOW TO PROMOTE YOUR MUSIC RAPPERS & PRODUCERS
https://www.youtube.com/playlist?list=PLlkIyFBqsH7qV9S00H64wnxeoWBQP5Y-m
LISTEN TO BEATS BY CURTISS KING BEATS
https://www.curtisskingbeats.com/
GET THIS BOOK FOR MUSIC PRODUCERS
The ProsperousHip Hop Producer
https://www.curtisskingbeats.com/books.html
HOW TO CREATE A MUSIC PRODUCER WEBSITE TO SELL BEATS
http://musicproducerwebsite.com
HOW TO CREATE A RAPPER WEBSITE TO SELL MUSIC & MERCH
http://bit.ly/rapperwebsite
1 ON 1 RAPPER AND PRODUCER COACHING WITH CURTISS KING
http://1on1withcurtissking.com
LEARN HOW TO USE FL STUDIO
http://flstudiobeginnersclass.com
DRUMKITS FOR MUSIC PRODUCERS
https://www.curtisskingbeats.com/store/c2/alldrumkits
CONNECT WITH CURTISS KING ONLINE
http://Instagram.com/CurtissKing
http://Twitter.com/CurtissKing
http://CurtissKingBeats.com

The terms on which this lecture may be used or modified are available at http://copyx.org/permission.
The lecture was prepared for a Harvard Law School course on Copyright Law, and for the CopyrightX course, offered under the auspices of HarvardX. Information concerning both courses can be found at http://copyx.org.

published: 14 Feb 2015

The Right to Perform: A Documentary on Performance Rights Organizations

Follow the lives of several working-class citizens or all share one thing in common: their love for music... which brings the second thing they have in common, namely, their individual involvements with Performance Rights Organizations. The business side of live music performance, P.R.O.s have operated quietly behind the scenes, and opinions about their ethics are as widely varied as the level of education pertaining to who they are and what they do.

Visithttp://www.MichaelBrandvold.com This week's episode #197 I am again joined by Loren Weisman to discuss...Performance Rights Organizations, Licensing for venues, royalties for performers.
Loren Weisman
-------------
MusicBusiness Consultant & Speaker Loren Weisman works to help, assist & consult independent artists, musicians, businesses, labels & managers to achieve sustainable success. Loren is also the author of The ArtistsGuide to Success in the Music Business, available in Paperback, eBook and Audio Book. For more on Loren Weisman's music business speaking, as well as more advice on how to budget for a tour or other services, visit: http://artistsguide.net/
If you like the podcast I ask that you visit iTunes and please Rate & ReviewThe Music Biz Weekly podcast. http://sma...

published: 03 Jul 2015

16. Performance Rights Organizations

published: 08 Aug 2015

ASCAP BMI SESAC....which one is right for YOU??

I discuss the pros and cons of the three main Performing Rights Organizations of North America.
------------------- IMPORTANT INFO BELOW ---------------------
Email : MusicLicensingPodcast@gmail.com
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IG JohnFulford
Snapchat FulfordMusic

published: 16 Dec 2015

BMI TV Presents: Venice Hit House

http://www.bmi.com/hit_house
About BMI
Celebrating 75 years of service to songwriters, composers, music publishers and businesses, Broadcast Music, Inc.® (BMI®) is a global leader in music rights management, serving as an advocate for the value of music. BMI represents the public performance rights in more than 8.5 million musical works created and owned by more than 600,000 songwriters, composers, and music publishers. The Company negotiates music license agreements and distributes the fees it generates as royalties to its affiliated writers and publishers when their songs are performed in public. In 1939, BMI created a groundbreaking open-door policy becoming the only performing rights organization to welcome and represent the creators of blues, jazz, country, and American roots music. ...

Muss Buss Project ™ MusicBusinessSeminar
Hosted byJamaica Music Society (JAMMS)
This event was open to JAMMS members and others within the music industry who are interested in learning the fundamental and advanced principles of effectively managing musical rights with special emphasis on sound recording rights.
Theme: Are You Really in Control of the rights you own?
Presenter: Evon Mullings | [JAMMS] General Manager
" Licensing & Distribution Deals & Potential Effect on Performance Rights Agreements with CMOs "
Tuesday, February 17, 2015KnutsfordCourtHotel
#followUS @JAMMS4music | @MussBussProject
LikeUS https://www.facebook.com/JamaicaMusicSociety https://www.facebook.com/MussBussPro
www.mussbuss.co
Muss Buss Project - Formula For Success

published: 20 Feb 2015

SUPER RARE SPECIAL REPORT: "THE MUSIC INDUSTRY"

The music industry consists of the companies and individuals that earn money by creating new songs and pieces and selling live concerts and shows, audio and video recordings, compositions and sheet music, and the organizations and associations that aid and represent creators. Among the many individuals and organizations that operate in the industry are: the songwriters and composers who create new songs and musical pieces; the singers, musicians, conductors and bandleaders who perform the music; the companies and professionals who create and sell recorded music and/or sheet music (e.g., music publishers, music producers, recording studios, engineers, record labels, retail and online music stores, performance rights organizations); and those that help organize and present live music perform...

NOVI FOSILI - mini koncert ( Ohrid Fest 2015 )

Ohrid FestOhridski Trubaduri Internacionalna Vecer
Specijalni gosti na internacionalna vecer
All copyright and performance rights are protected.
Prohibited are all copying, hiring, lending, public performance and broadcasting of this footage.
IT IS FORBIDDEN TO reupload the package to your personal channel for copyright infringement, deterioration of sound and undue accumulation on YouTube!

Here's a quick (kinda) overview of the 3 US based Performance Rights Organizations (PROs). Feel free to add anything I left out in the comments. I just wanted to give you a general idea of each and what they basically do.
🔥DOWNLOAD 2 FREEBeats & get a song critique HERE http://bit.ly/FREEPHANATICBEATS
👍Let's get to 1000 SUBSCRIBES!:
https://www.youtube.com/user/DJPhanaticWorld?sub_confirmation=1
🎼Website: http://djphanaticbeats.com/
➡Twitter: https://twitter.com/DJPhanatic
Don't let your dreams pass by, invest in your music, NOW IS THE TIME!
I appreciate you stopping by the DJ PhanaticWorldBeatChannel. My main site is DJ Phanatic Beats for some dope instrumentals!
“PLEASE SUPPORT MY CHANNEL BY HELPING ME REACH 1000 SUBSCRIBERS SO I CAN MONETIZE MY CONTENT TO REINVEST IN ...

published: 23 May 2018

Queen - Live at LIVE AID 1985/07/13 [Best Version]

This is the absolute ULTIMATE experience of Queen's set at LIVEAID, this is the best video mixed to the absolutely superior stereo radio broadcast. This vastly superior audio mix takes a huge dump on all of the official mixes. Best viewed in 1080p. ENJOY! ***MAKESURE TO READ THE DESCRIPTION***
00:36 - Bohemian Rhapsody
02:42 - Radio Ga Ga
06:53 - Ay Oh!
07:34 - Hammer To Fall
12:08 - Crazy Little Thing Called Love
16:03 - We Will Rock You
17:18 - We Are The Champions
21:12 - Is This The World We Created...?
Short song analysis:
- "Bohemian Rhapsody": Although it's a short medley version, it's one of the best performances of the ballad section, with Freddie nailing the Bb4s with the correct studio phrasing (for the first time ever!).
- "Radio Ga Ga": Although it's missing one chorus, t...

Each month, we invite a music industry professional to give a live presentation to Tunedly members.
In March, we had renowned entertainment lawyer, WallaceCollinsIII, Esq., as the presenter.
Topic: BasicLegal Rights for Songwriters – Protecting yourself in the music business.
Main points covered include:
What is copyright
Trademark protection
Everything to know about signing music contracts
How songwriters earn
Debunking myths surrounding the administration of copyright
The difference between ASCAP, BMI, and other performance rights organizations
Real world examples of musicians’ legal rights at play, drawing from his own experiences representing artists such as Madonna, Taylor Swift, and Justin Timberlake.
Join Tunedly ►► https://tunedly.com
ABOUT TUNEDLY
Tunedly connects you w...

Performers' Rights: The Hon Mr Justice Arnold

ISM webinar: PPL Making your repertoire work

In this video from the ISMTrust and PPL, the UK’s music licensing and performance rights organisation for performers, Ben Hogwood looks at how to maximise your earnings for UK and international airplay by ensuring all your recorded work is registered with PPL. The video also translates the jargon, with a members’ guide to the PPL repertoire database.
Watch other webinar recordings or book to attend the next live broadcast at www.ism.org/webinars
Find out more about the ISM, the UK's professional body for musicians: www.ism.org
Become of a member of the ISM: www.ism.org/join
Follow the ISM on:
Twitter: https://twitter.com/ISM_music
Facebook: https://www.facebook.com/ISMusicians/
Instagram: https://www.instagram.com/ism_music/
LinkedIn: https://www.linkedin.com/company/incorporated-soc...

The terms on which this lecture may be used or modified are available at http://copyx.org/permission.
The lecture was prepared for a Harvard Law School course ...

The terms on which this lecture may be used or modified are available at http://copyx.org/permission.
The lecture was prepared for a Harvard Law School course on Copyright Law, and for the CopyrightX course, offered under the auspices of HarvardX. Information concerning both courses can be found at http://copyx.org.

The terms on which this lecture may be used or modified are available at http://copyx.org/permission.
The lecture was prepared for a Harvard Law School course on Copyright Law, and for the CopyrightX course, offered under the auspices of HarvardX. Information concerning both courses can be found at http://copyx.org.

The Right to Perform: A Documentary on Performance Rights Organizations

Follow the lives of several working-class citizens or all share one thing in common: their love for music... which brings the second thing they have in common, ...

Follow the lives of several working-class citizens or all share one thing in common: their love for music... which brings the second thing they have in common, namely, their individual involvements with Performance Rights Organizations. The business side of live music performance, P.R.O.s have operated quietly behind the scenes, and opinions about their ethics are as widely varied as the level of education pertaining to who they are and what they do.

Follow the lives of several working-class citizens or all share one thing in common: their love for music... which brings the second thing they have in common, namely, their individual involvements with Performance Rights Organizations. The business side of live music performance, P.R.O.s have operated quietly behind the scenes, and opinions about their ethics are as widely varied as the level of education pertaining to who they are and what they do.

Visithttp://www.MichaelBrandvold.com This week's episode #197 I am again joined by Loren Weisman to discuss...Performance Rights Organizations, Licensing for venues, royalties for performers.
Loren Weisman
-------------
MusicBusiness Consultant & Speaker Loren Weisman works to help, assist & consult independent artists, musicians, businesses, labels & managers to achieve sustainable success. Loren is also the author of The ArtistsGuide to Success in the Music Business, available in Paperback, eBook and Audio Book. For more on Loren Weisman's music business speaking, as well as more advice on how to budget for a tour or other services, visit: http://artistsguide.net/
If you like the podcast I ask that you visit iTunes and please Rate & ReviewThe Music Biz Weekly podcast. http://smarturl.it/musicbiz
Download Music Biz Weekly on Apple iTunes:
http://smarturl.it/musicbiz
Listen to the Music Biz Weekly on Spreaker:
http://spreaker.michaelbrandvold.com
Listen to the Music Biz Weekly on SoundCloud: https://soundcloud.michaelbrandvold.com
FollowMichael on Twitter:
http://www.twitter.com/michaelsb
Michael Brandvold is a freelance music industry consultant based in Northern California. Having launched Michael Brandvold Marketing to leverage his years of experience to provide direction to large and small clients in the areas of online & social marketing as well as e-commerce and customer acquisition and retention.
Gene Simmons of KISS first tapped Michael's skills as a pioneering online marketing strategist to launch and manage all aspects of Kissonline.com's multi-million dollar enterprise, including their ground-breaking VIP ticket program.
Michael has also managed the online efforts for SOiL, Tantric, Killer Dwarfs, Accept, RussDwarf, Dream Theater, Little Caesar, BillOrtiz, Motley Crüe, Rod Stewart, Madonna, Ozzy Osbourne, Madonna and Britney Spears to name only a few.
If you are interested in speaking with Michael about what he can do to assist with your marketing needs contact him online at www.MichaelBrandvold.com

Visithttp://www.MichaelBrandvold.com This week's episode #197 I am again joined by Loren Weisman to discuss...Performance Rights Organizations, Licensing for venues, royalties for performers.
Loren Weisman
-------------
MusicBusiness Consultant & Speaker Loren Weisman works to help, assist & consult independent artists, musicians, businesses, labels & managers to achieve sustainable success. Loren is also the author of The ArtistsGuide to Success in the Music Business, available in Paperback, eBook and Audio Book. For more on Loren Weisman's music business speaking, as well as more advice on how to budget for a tour or other services, visit: http://artistsguide.net/
If you like the podcast I ask that you visit iTunes and please Rate & ReviewThe Music Biz Weekly podcast. http://smarturl.it/musicbiz
Download Music Biz Weekly on Apple iTunes:
http://smarturl.it/musicbiz
Listen to the Music Biz Weekly on Spreaker:
http://spreaker.michaelbrandvold.com
Listen to the Music Biz Weekly on SoundCloud: https://soundcloud.michaelbrandvold.com
FollowMichael on Twitter:
http://www.twitter.com/michaelsb
Michael Brandvold is a freelance music industry consultant based in Northern California. Having launched Michael Brandvold Marketing to leverage his years of experience to provide direction to large and small clients in the areas of online & social marketing as well as e-commerce and customer acquisition and retention.
Gene Simmons of KISS first tapped Michael's skills as a pioneering online marketing strategist to launch and manage all aspects of Kissonline.com's multi-million dollar enterprise, including their ground-breaking VIP ticket program.
Michael has also managed the online efforts for SOiL, Tantric, Killer Dwarfs, Accept, RussDwarf, Dream Theater, Little Caesar, BillOrtiz, Motley Crüe, Rod Stewart, Madonna, Ozzy Osbourne, Madonna and Britney Spears to name only a few.
If you are interested in speaking with Michael about what he can do to assist with your marketing needs contact him online at www.MichaelBrandvold.com

I discuss the pros and cons of the three main Performing Rights Organizations of North America.
------------------- IMPORTANT INFO BELOW ---------------------
Email : MusicLicensingPodcast@gmail.com
Twitter @Jfulfordtheiii
IG JohnFulford
Snapchat FulfordMusic

I discuss the pros and cons of the three main Performing Rights Organizations of North America.
------------------- IMPORTANT INFO BELOW ---------------------
Email : MusicLicensingPodcast@gmail.com
Twitter @Jfulfordtheiii
IG JohnFulford
Snapchat FulfordMusic

BMI TV Presents: Venice Hit House

http://www.bmi.com/hit_house
About BMI
Celebrating 75 years of service to songwriters, composers, music publishers and businesses, Broadcast Music, Inc.® (BMI®...

http://www.bmi.com/hit_house
About BMI
Celebrating 75 years of service to songwriters, composers, music publishers and businesses, Broadcast Music, Inc.® (BMI®) is a global leader in music rights management, serving as an advocate for the value of music. BMI represents the public performance rights in more than 8.5 million musical works created and owned by more than 600,000 songwriters, composers, and music publishers. The Company negotiates music license agreements and distributes the fees it generates as royalties to its affiliated writers and publishers when their songs are performed in public. In 1939, BMI created a groundbreaking open-door policy becoming the only performing rights organization to welcome and represent the creators of blues, jazz, country, and American roots music. Today, the musical compositions in BMI's repertoire, from chart toppers to perennial favorites, span all genres of music and are consistently among the most-performed hits of the year. For additional information and the latest BMI news, visit www.bmi.com, follow us on Twitter @BMI or stay connected through Broadcast Music, Inc.'s Facebook page.

http://www.bmi.com/hit_house
About BMI
Celebrating 75 years of service to songwriters, composers, music publishers and businesses, Broadcast Music, Inc.® (BMI®) is a global leader in music rights management, serving as an advocate for the value of music. BMI represents the public performance rights in more than 8.5 million musical works created and owned by more than 600,000 songwriters, composers, and music publishers. The Company negotiates music license agreements and distributes the fees it generates as royalties to its affiliated writers and publishers when their songs are performed in public. In 1939, BMI created a groundbreaking open-door policy becoming the only performing rights organization to welcome and represent the creators of blues, jazz, country, and American roots music. Today, the musical compositions in BMI's repertoire, from chart toppers to perennial favorites, span all genres of music and are consistently among the most-performed hits of the year. For additional information and the latest BMI news, visit www.bmi.com, follow us on Twitter @BMI or stay connected through Broadcast Music, Inc.'s Facebook page.

SUPER RARE SPECIAL REPORT: "THE MUSIC INDUSTRY"

The music industry consists of the companies and individuals that earn money by creating new songs and pieces and selling live concerts and shows, audio and vid...

The music industry consists of the companies and individuals that earn money by creating new songs and pieces and selling live concerts and shows, audio and video recordings, compositions and sheet music, and the organizations and associations that aid and represent creators. Among the many individuals and organizations that operate in the industry are: the songwriters and composers who create new songs and musical pieces; the singers, musicians, conductors and bandleaders who perform the music; the companies and professionals who create and sell recorded music and/or sheet music (e.g., music publishers, music producers, recording studios, engineers, record labels, retail and online music stores, performance rights organizations); and those that help organize and present live music performances (sound engineers, booking agents, promoters, music venues, road crew).
The industry also includes a range of professionals who assist singers and musicians with their music careers (talent managers, artists and repertoire managers, business managers, entertainment lawyers); those who broadcast audio or video music content (satellite, Internet radio stations, broadcast radio and TV stations); music journalists and music critics; DJs; music educators and teachers; musical instrument manufacturers; as well as many others. In addition to the businesses and artists who work in the music industry to make a profit or income, there are a range of organizations that also play an important role in the music industry, including musician's unions (e.g., American Federation of Musicians), not-for-profit performance-rights organizations (e.g., AmericanSociety of Composers, Authors and Publishers) and other associations.
The modern Western music industry emerged between the 1930s and 1950s, when records replaced sheet music as the most important product in the music business. In the commercial world, "the recording industry"–a reference to recording performances of songs and pieces and selling the recordings–began to be used as a loose synonym for "the music industry". In the 2000s, a majority of the music market is controlled by three major corporate labels: the French-owned Universal Music Group, the Japanese-owned Sony Music Entertainment, and the US-owned Warner Music Group. Labels outside of these three major labels are referred to as independent labels (or "indies"). The largest portion of the live music market for concerts and tours is controlled by Live Nation, the largest promoter and music venue owner. Live Nation is a former subsidiary of iHeartMedia Inc, which is the largest owner of radio stations in the United States.
In the first decades of the 2000s, the music industry underwent drastic changes with the advent of widespread digital distribution of music via the Internet (which includes both illegal file sharing of songs and legal music purchases in online music stores). A conspicuous indicator of these changes is total music sales: since 2000, sales of recorded music have dropped off substantially while live music has increased in importance. In 2011, the largest recorded music retailer in the world was now a digital, Internet-based platform operated by a computer company: Apple Inc.'s online iTunes Store.

The music industry consists of the companies and individuals that earn money by creating new songs and pieces and selling live concerts and shows, audio and video recordings, compositions and sheet music, and the organizations and associations that aid and represent creators. Among the many individuals and organizations that operate in the industry are: the songwriters and composers who create new songs and musical pieces; the singers, musicians, conductors and bandleaders who perform the music; the companies and professionals who create and sell recorded music and/or sheet music (e.g., music publishers, music producers, recording studios, engineers, record labels, retail and online music stores, performance rights organizations); and those that help organize and present live music performances (sound engineers, booking agents, promoters, music venues, road crew).
The industry also includes a range of professionals who assist singers and musicians with their music careers (talent managers, artists and repertoire managers, business managers, entertainment lawyers); those who broadcast audio or video music content (satellite, Internet radio stations, broadcast radio and TV stations); music journalists and music critics; DJs; music educators and teachers; musical instrument manufacturers; as well as many others. In addition to the businesses and artists who work in the music industry to make a profit or income, there are a range of organizations that also play an important role in the music industry, including musician's unions (e.g., American Federation of Musicians), not-for-profit performance-rights organizations (e.g., AmericanSociety of Composers, Authors and Publishers) and other associations.
The modern Western music industry emerged between the 1930s and 1950s, when records replaced sheet music as the most important product in the music business. In the commercial world, "the recording industry"–a reference to recording performances of songs and pieces and selling the recordings–began to be used as a loose synonym for "the music industry". In the 2000s, a majority of the music market is controlled by three major corporate labels: the French-owned Universal Music Group, the Japanese-owned Sony Music Entertainment, and the US-owned Warner Music Group. Labels outside of these three major labels are referred to as independent labels (or "indies"). The largest portion of the live music market for concerts and tours is controlled by Live Nation, the largest promoter and music venue owner. Live Nation is a former subsidiary of iHeartMedia Inc, which is the largest owner of radio stations in the United States.
In the first decades of the 2000s, the music industry underwent drastic changes with the advent of widespread digital distribution of music via the Internet (which includes both illegal file sharing of songs and legal music purchases in online music stores). A conspicuous indicator of these changes is total music sales: since 2000, sales of recorded music have dropped off substantially while live music has increased in importance. In 2011, the largest recorded music retailer in the world was now a digital, Internet-based platform operated by a computer company: Apple Inc.'s online iTunes Store.

Ohrid FestOhridski Trubaduri Internacionalna Vecer
Specijalni gosti na internacionalna vecer
All copyright and performance rights are protected.
Prohibited are all copying, hiring, lending, public performance and broadcasting of this footage.
IT IS FORBIDDEN TO reupload the package to your personal channel for copyright infringement, deterioration of sound and undue accumulation on YouTube!

Ohrid FestOhridski Trubaduri Internacionalna Vecer
Specijalni gosti na internacionalna vecer
All copyright and performance rights are protected.
Prohibited are all copying, hiring, lending, public performance and broadcasting of this footage.
IT IS FORBIDDEN TO reupload the package to your personal channel for copyright infringement, deterioration of sound and undue accumulation on YouTube!

Here's a quick (kinda) overview of the 3 US based Performance Rights Organizations (PROs). Feel free to add anything I left out in the comments. I just wanted to give you a general idea of each and what they basically do.
🔥DOWNLOAD 2 FREEBeats & get a song critique HERE http://bit.ly/FREEPHANATICBEATS
👍Let's get to 1000 SUBSCRIBES!:
https://www.youtube.com/user/DJPhanaticWorld?sub_confirmation=1
🎼Website: http://djphanaticbeats.com/
➡Twitter: https://twitter.com/DJPhanatic
Don't let your dreams pass by, invest in your music, NOW IS THE TIME!
I appreciate you stopping by the DJ PhanaticWorldBeatChannel. My main site is DJ Phanatic Beats for some dope instrumentals!
“PLEASE SUPPORT MY CHANNEL BY HELPING ME REACH 1000 SUBSCRIBERS SO I CAN MONETIZE MY CONTENT TO REINVEST IN MY CHANNEL TO MAKE BIGGER AND BETTER VIDEOS! WHEN YOU SUBSCRIBE IT GOES A LONG WAY FOR ME! THANK YOU SO MUCH FOR YOUR SUPPORT! https://www.youtube.com/user/DJPhanaticWorld?sub_confirmation=1”

Here's a quick (kinda) overview of the 3 US based Performance Rights Organizations (PROs). Feel free to add anything I left out in the comments. I just wanted to give you a general idea of each and what they basically do.
🔥DOWNLOAD 2 FREEBeats & get a song critique HERE http://bit.ly/FREEPHANATICBEATS
👍Let's get to 1000 SUBSCRIBES!:
https://www.youtube.com/user/DJPhanaticWorld?sub_confirmation=1
🎼Website: http://djphanaticbeats.com/
➡Twitter: https://twitter.com/DJPhanatic
Don't let your dreams pass by, invest in your music, NOW IS THE TIME!
I appreciate you stopping by the DJ PhanaticWorldBeatChannel. My main site is DJ Phanatic Beats for some dope instrumentals!
“PLEASE SUPPORT MY CHANNEL BY HELPING ME REACH 1000 SUBSCRIBERS SO I CAN MONETIZE MY CONTENT TO REINVEST IN MY CHANNEL TO MAKE BIGGER AND BETTER VIDEOS! WHEN YOU SUBSCRIBE IT GOES A LONG WAY FOR ME! THANK YOU SO MUCH FOR YOUR SUPPORT! https://www.youtube.com/user/DJPhanaticWorld?sub_confirmation=1”

Queen - Live at LIVE AID 1985/07/13 [Best Version]

This is the absolute ULTIMATE experience of Queen's set at LIVEAID, this is the best video mixed to the absolutely superior stereo radio broadcast. This vastly...

This is the absolute ULTIMATE experience of Queen's set at LIVEAID, this is the best video mixed to the absolutely superior stereo radio broadcast. This vastly superior audio mix takes a huge dump on all of the official mixes. Best viewed in 1080p. ENJOY! ***MAKESURE TO READ THE DESCRIPTION***
00:36 - Bohemian Rhapsody
02:42 - Radio Ga Ga
06:53 - Ay Oh!
07:34 - Hammer To Fall
12:08 - Crazy Little Thing Called Love
16:03 - We Will Rock You
17:18 - We Are The Champions
21:12 - Is This The World We Created...?
Short song analysis:
- "Bohemian Rhapsody": Although it's a short medley version, it's one of the best performances of the ballad section, with Freddie nailing the Bb4s with the correct studio phrasing (for the first time ever!).
- "Radio Ga Ga": Although it's missing one chorus, this is one of - if not the best - the best versions ever, Freddie nails all the Bb4s and sounds very clean! Spike Edney's Roland Jupiter 8 also really shines through on this mix, compared to the DVD releases!
- "AudienceImprov": A great improv, Freddie sounds strong and confident. You gotta love when he sustains that A4 for 4 seconds!
- "Hammer To Fall": Despite missing a verse and a chorus, it's a strong version (possibly the best ever). Freddie sings the song amazingly, and even ad-libs a C#5 and a C5! Also notice how heavy Brian's guitar sounds compared to the thin DVD mixes - it roars!
- "Crazy Little Thing Called Love": A great version, the crowd loves the song, the jam is great as well! Only downside to this is the slight feedback issues.
- "We Will Rock You": Although cut down to the 1st verse and chorus, Freddie sounds strong. He nails the A4, and the solo from Dr. May is brilliant!
- "We Are the Champions": Perhaps the high-light of the performance - Freddie is very daring on this version, he sustains the pre-chorus Bb4s, nails the 1st C5, belts great A4s, but most importantly: He nails the chorus Bb4s, in all 3 choruses! This is the only time he has ever done so! It has to be said though, the last one sounds a bit rough, but that's a side effect of belting high notes for the past 18 minutes, with nodules AND laryngitis!
- "Is This The World We Created... ?": Freddie and Brian perform a beautiful version of this, and it is one of the best versions ever. It's both sad and hilarious that a couple of BBC engineers are talking over the song, one of them being completely oblivious of the fact that he is interrupting the performance, on live television... Which was being televised to almost 2 billion homes.
All rights go to their respective owners!
-----Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use

This is the absolute ULTIMATE experience of Queen's set at LIVEAID, this is the best video mixed to the absolutely superior stereo radio broadcast. This vastly superior audio mix takes a huge dump on all of the official mixes. Best viewed in 1080p. ENJOY! ***MAKESURE TO READ THE DESCRIPTION***
00:36 - Bohemian Rhapsody
02:42 - Radio Ga Ga
06:53 - Ay Oh!
07:34 - Hammer To Fall
12:08 - Crazy Little Thing Called Love
16:03 - We Will Rock You
17:18 - We Are The Champions
21:12 - Is This The World We Created...?
Short song analysis:
- "Bohemian Rhapsody": Although it's a short medley version, it's one of the best performances of the ballad section, with Freddie nailing the Bb4s with the correct studio phrasing (for the first time ever!).
- "Radio Ga Ga": Although it's missing one chorus, this is one of - if not the best - the best versions ever, Freddie nails all the Bb4s and sounds very clean! Spike Edney's Roland Jupiter 8 also really shines through on this mix, compared to the DVD releases!
- "AudienceImprov": A great improv, Freddie sounds strong and confident. You gotta love when he sustains that A4 for 4 seconds!
- "Hammer To Fall": Despite missing a verse and a chorus, it's a strong version (possibly the best ever). Freddie sings the song amazingly, and even ad-libs a C#5 and a C5! Also notice how heavy Brian's guitar sounds compared to the thin DVD mixes - it roars!
- "Crazy Little Thing Called Love": A great version, the crowd loves the song, the jam is great as well! Only downside to this is the slight feedback issues.
- "We Will Rock You": Although cut down to the 1st verse and chorus, Freddie sounds strong. He nails the A4, and the solo from Dr. May is brilliant!
- "We Are the Champions": Perhaps the high-light of the performance - Freddie is very daring on this version, he sustains the pre-chorus Bb4s, nails the 1st C5, belts great A4s, but most importantly: He nails the chorus Bb4s, in all 3 choruses! This is the only time he has ever done so! It has to be said though, the last one sounds a bit rough, but that's a side effect of belting high notes for the past 18 minutes, with nodules AND laryngitis!
- "Is This The World We Created... ?": Freddie and Brian perform a beautiful version of this, and it is one of the best versions ever. It's both sad and hilarious that a couple of BBC engineers are talking over the song, one of them being completely oblivious of the fact that he is interrupting the performance, on live television... Which was being televised to almost 2 billion homes.
All rights go to their respective owners!
-----Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use

Each month, we invite a music industry professional to give a live presentation to Tunedly members.
In March, we had renowned entertainment lawyer, Wallace Co...

Each month, we invite a music industry professional to give a live presentation to Tunedly members.
In March, we had renowned entertainment lawyer, WallaceCollinsIII, Esq., as the presenter.
Topic: BasicLegal Rights for Songwriters – Protecting yourself in the music business.
Main points covered include:
What is copyright
Trademark protection
Everything to know about signing music contracts
How songwriters earn
Debunking myths surrounding the administration of copyright
The difference between ASCAP, BMI, and other performance rights organizations
Real world examples of musicians’ legal rights at play, drawing from his own experiences representing artists such as Madonna, Taylor Swift, and Justin Timberlake.
Join Tunedly ►► https://tunedly.com
ABOUT TUNEDLY
Tunedly connects you with the world's best session musicians to create stunning music online, while making it easier to get heard.
https://www.youtube.com/c/tunedly

Each month, we invite a music industry professional to give a live presentation to Tunedly members.
In March, we had renowned entertainment lawyer, WallaceCollinsIII, Esq., as the presenter.
Topic: BasicLegal Rights for Songwriters – Protecting yourself in the music business.
Main points covered include:
What is copyright
Trademark protection
Everything to know about signing music contracts
How songwriters earn
Debunking myths surrounding the administration of copyright
The difference between ASCAP, BMI, and other performance rights organizations
Real world examples of musicians’ legal rights at play, drawing from his own experiences representing artists such as Madonna, Taylor Swift, and Justin Timberlake.
Join Tunedly ►► https://tunedly.com
ABOUT TUNEDLY
Tunedly connects you with the world's best session musicians to create stunning music online, while making it easier to get heard.
https://www.youtube.com/c/tunedly

ISM webinar: PPL Making your repertoire work

In this video from the ISMTrust and PPL, the UK’s music licensing and performance rights organisation for performers, Ben Hogwood looks at how to maximise your...

In this video from the ISMTrust and PPL, the UK’s music licensing and performance rights organisation for performers, Ben Hogwood looks at how to maximise your earnings for UK and international airplay by ensuring all your recorded work is registered with PPL. The video also translates the jargon, with a members’ guide to the PPL repertoire database.
Watch other webinar recordings or book to attend the next live broadcast at www.ism.org/webinars
Find out more about the ISM, the UK's professional body for musicians: www.ism.org
Become of a member of the ISM: www.ism.org/join
Follow the ISM on:
Twitter: https://twitter.com/ISM_music
Facebook: https://www.facebook.com/ISMusicians/
Instagram: https://www.instagram.com/ism_music/
LinkedIn: https://www.linkedin.com/company/incorporated-society-of-musicians/

In this video from the ISMTrust and PPL, the UK’s music licensing and performance rights organisation for performers, Ben Hogwood looks at how to maximise your earnings for UK and international airplay by ensuring all your recorded work is registered with PPL. The video also translates the jargon, with a members’ guide to the PPL repertoire database.
Watch other webinar recordings or book to attend the next live broadcast at www.ism.org/webinars
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What Is A Performing Rights Organization?

Welcome to another music quick tips video by http://emusicbranding.com
A Performing Rights Organization, also known as a PRO, is an organization that collects performing rights royalties on behalf of its members, music publishers, and composers. Once all the royalties are collected the PRO then deducts its service fees and distributes the rest to its members.
Here Are Some Reasons Why An Artist Should Join A PRO:
• Because A Performing Rights Agency helps monitor your radio and show performances so you can get paid
• The also help to introduce you to many professionals within the music industry such as music managers, A&R’s, Producers, Publishers & artists
• And they help license your music to Tv, Film, Theater, and Game Companies
So which PRO is the best? The truth is some Performing Rights Organizations may differ a bit in how they pay artists, but in general, they all provide the same services.
For more information on where to obtain a list of Performing Rights Organizations visit Emusicbranding.com
Performing Rights Agency Tags:
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Talking song business, there is a lot of legal jargon to sift through when understanding how to get paid for your music. You finally made your hit song, but when does the dough begin to trickle in? Making sense of it all is not that easy. Who makes the money from licensing fees? How are these fees divided up? Who do you even contact to get these performance rights? Wonder no longer! RenmanMB presents Sean O'Malley, SeniorDirector of Strategic Services for ASCAP, who skyped into the broadcast to answer all these questions and more. If you're looking to make money for all your creative hard work, make sure you do not miss this video!
If you're looking to do something great in today's music business than RenmanMB is for you! With over 90 live shows and 500+ videos, we're talking with the smartest, most talented artists and music professionals about today's music business. Founded by legendary Music Industry expert Steve Rennie, RenmanMB is your one stop for the best advice and education on today's music business.
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"A bad manager is worse than no manager at all"-Renman
Would you know your perfect manager if you met them? Check out our Tip From the Pros Management PDF to find out what you should be looking for in your search for the right manager. https://renmanu.com/wp-content/uploads/2015/12/Tips-from-the-Pros-Manager.pdf

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Video: Music Copyrights, Split Sheets, Performance Rights Orgs with Richard Jefferson, Keonda Gaspard
Music Producer | Music Producer Interview | Music Producer Tips |How To Become A Music Producer | Music Producer Business | Music Producer Career | Music Producer Advice | Music Producer Motivation | Music Producer Contracts | Music Producer RoyaltiesReady to put your music, career and business into over-drive? JoinDynamicProducer today and get on the path towards becoming a successful music producer. Gain access to our exclusive suite of membership benefits including:
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6:19

ASCAP BMI SESAC - Which One Is Right For YOU?

ASCAP BMI or SESAC. Which Performing Rights Organization is right for you?
--------------...

Understanding The Right of Public Performance: How it Generates Money

in this clip from www.artistshousemusic.org - ASCAPMidwest Membership DirectorShawn Murphy provides a concise definition of "public performance," and explains the ways in which performing rights organizations drive revenue for both the licensees and the publishers. Related topics include what kinds of businesses require a license to "perform" music and why; how money is collected from these performances; and the role of public performance in the overall music marketplace.

2:27

Performance Rights Organizations

ASCAP, BMI and SESAC...who are they and what do they do for songwriters and publishers? Th...

Performance Rights Organizations

ASCAP, BMI and SESAC...who are they and what do they do for songwriters and publishers? This video explains how these three US performance rights organizations work for writers and publishers to protect their rights and collect royalties on their behalf. We also look at what types of church activities require performance licenses.

5:35

PRS And PPL Explained

While seen as a nuisance by some, PRS and PPL are great ways for musicians to make money; ...

PRS And PPL Explained

While seen as a nuisance by some, PRS and PPL are great ways for musicians to make money; these societies allow musicians to collect the appropriate royalties owed to them. Unfortunately, even some of the most experienced musicians in the industry do not know about royalty collecting organisations and so miss out on what potentially could be thousands of pounds each year.
Some great places where music can generate a lot of royalties are on national radio stations, played live at large concerts and festivals, TV (both commercials and programmes) and YouTube videos where the view counts are into the millions.
Some see PRS and PPL as a hinderance - calling it "just another tax" but in reality these licenses are required so that the musicians who work hard to create the things people love are rewarded fairly. Music has always been a very difficult industry and the vast majority of those employed in this sector do not earn bucket loads of money (although the general public would probably believe otherwise).
The great thing about PRS is that just about any musician who's currently playing original songs at any live venue can claim PRS royalties. The typical royalty for a small pub gig would in most cases not amount to more than a pound but this quickly increases were one to play larger venues or even at festivals which typically pay very large PRS tarriffs that are distributed amongst the PRS members performing at that festival/venue. Please note that signing up with either PRS or PPL may take a week or two and that there is a £50 signing-up fee to join PRS but this is a one time only fee. You can't claim PRS royalties for performances in small venues if the songs were not registered with PRS at the time of the performance. Obviously to collect PRS royalties for a song you must have been the songwriter or at least have a writing credit.

4:40

PPL and the Importance of Performance Rights

This year PPL proudly celebrates its 80th anniversary, having started life in 1934 with th...

A Game with No Rules: Making Sense of Performance Rights in the Age of New Media

In this clip from www.artistshousemusic.org - ASCAPMidwest Membership Director and music publishing teacher Shawn Murphy talks about the difficulties in applying the standard royalty model to new kinds of performances such as ring tones and streaming radio, which don't fit clearly into any existing performance category. In the absence of a new industry standard, Murphy talks about how he helps his students extrapolate ways to monetize performance rights in a changing landscape.

1:45

Join a Performing Rights Organization | Rap Music

Like these Rap Lessons !!! Check out the official app http://apple.co/1QQmwX4
Watch more ...

Join a Performing Rights Organization | Rap Music

Like these Rap Lessons !!! Check out the official app http://apple.co/1QQmwX4
Watch more How to Rap videos: http://www.howcast.com/videos/512499-Join-a-Performing-Rights-Organization-Rap-Music
The reason you should join a performing rights organization is you want to get paid. You want to make money in the music business, you must join a performing rights organization. Because, when a record or music plays on television, in a club or on the radio, there's no way to track who and when that music is being played.
So, performing rights organizations are set up to work with record labels, recording artists, performing venues to pay artists for the use of their song. So, when you listen to the radio and you hear a song by Jay-Z, you're listening because that song that you like is going to be played, but then there's a commercial. That means that that radio station is making money from your song. So, you need to be paid for your song.
So, performing rights organizations go out there, and they are kind of your bodyguard that protects you from being robbed or taken advantage of by radio stations, television stations who play your music and don't pay you for it.
So there are three performing rights organizations you can sign up with. There's ASCAP, there's BMI, and there's SESAC, alright? They primarily do the same things, which is work with radio stations and all the performance venues that play music, to pay artists for the use of their songs. And that's why you should join a performing rights organization.

7:21

ASCAP vs BMI | Which PRO Is Right For You?

in ASCAP vs BMI I discuss what a Performance Rights Organization (PRO) is and which major ...

ASCAP vs BMI | Which PRO Is Right For You?

in ASCAP vs BMI I discuss what a Performance Rights Organization (PRO) is and which major United States organization you should consider.
Performing Rights Organizations are a must to be apart of, but you need to understand that they aren't going to launch your career. They are a piece of the royalty puzzle.
During my ASCAP vs BMI battle I discuss the two main differences which are...
1. Up front costs
2. RoyaltyDistribution
There is a third major player in the PRO world, and that is SESAC. SESAC however is an exclusive society. You have to apply, get invited, or be recommended by another member to get in.
Currently on their website they are not taking any unsolicited applications.
In this ASCAP vs BMI video I also touch on the history of PRO's, Publishing Admin, and non-interactive digital royalties.
For my break down of publishing admin companies like CD Baby and Tunecore please check out my resource ... https://youtu.be/dFRP5PQG_Xk
Another good resource on a similar topic is my video Music Directories | Are Resources Like The IndieBibleWorth It? Check it out here ... https://youtu.be/EBpiaUqLQH4
I hope that this video helps you along your journey to getting paid!
*editors note* ASCAP will collect non-interactive streaming royalties as well for copyright holders. SoundExchange collects for Master Recording Owners and Performers. For full explanation please visit https://johnson.audio/ascap-vs-bmi
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Entertainment Business Basics: Performance Rights Organizations

Law Clerk J.P.Urban explains what performance rights organizations (a/k/a PROs) are and how they help songwriters and music publishers receive payments from venues in which their songs are performed.

Performing rights

Performing rights are the right to perform music in public. It is part of copyright law and demands payment to the music’s composer/lyricist and publisher (with the royalties generally split 50/50 between the two). Public performance means that a musician or group who is not the copyright holder is performing a piece of music live, as opposed to the playback of a pre-recorded song. Performances are considered "public" if they take place in a public place and the audience is outside of a normal circle of friends and family, including concerts, nightclubs, restaurants etc. Public performance also includes broadcast and cable television, radio, and any other transmitted performance of a live song.

Permission to publicly perform a song must be obtained from the copyright holder or a collective rights organization.

In the United States, broadcasters can pay for their use of music in one of two ways: they can obtain permission/license directly from the music’s copyright owner (usually the publisher), or they can obtain a license from ASCAP, BMI and SESAC to use all of the music in their repertoires. ASCAP, BMI and SESAC are the three performing rights societies in the U.S. and once they receive payment from the broadcasters they are responsible for compensating the music authors and publisher.

I refer to the article, “Hong Kong pedestrian zone to be scrapped after more than 1,000 complaints about Mong Kok street performers”, May 17). Some politicians have suggested a licensing plan for performers, but I disagree. A licensing system would not be effective in solving the problem of noise. The street performers would move to other pedestrian zones and the situation would remain unchanged ... There would be only a... ....

Gqom queen Babes Wodumo has been going through the most this past week but is carrying on with business as usual as she is set to perform at UmlaziPicnic in Durban... "Babes has to perform because she ......

The terms on which this lecture may be used or modified are available at http://copyx.org/permission.
The lecture was prepared for a Harvard Law School course on Copyright Law, and for the CopyrightX course, offered under the auspices of HarvardX. Information concerning both courses can be found at http://copyx.org.

52:56

The Right to Perform: A Documentary on Performance Rights Organizations

Follow the lives of several working-class citizens or all share one thing in common: their...

The Right to Perform: A Documentary on Performance Rights Organizations

Follow the lives of several working-class citizens or all share one thing in common: their love for music... which brings the second thing they have in common, namely, their individual involvements with Performance Rights Organizations. The business side of live music performance, P.R.O.s have operated quietly behind the scenes, and opinions about their ethics are as widely varied as the level of education pertaining to who they are and what they do.

Visithttp://www.MichaelBrandvold.com This week's episode #197 I am again joined by Loren Weisman to discuss...Performance Rights Organizations, Licensing for venues, royalties for performers.
Loren Weisman
-------------
MusicBusiness Consultant & Speaker Loren Weisman works to help, assist & consult independent artists, musicians, businesses, labels & managers to achieve sustainable success. Loren is also the author of The ArtistsGuide to Success in the Music Business, available in Paperback, eBook and Audio Book. For more on Loren Weisman's music business speaking, as well as more advice on how to budget for a tour or other services, visit: http://artistsguide.net/
If you like the podcast I ask that you visit iTunes and please Rate & ReviewThe Music Biz Weekly podcast. http://smarturl.it/musicbiz
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Michael Brandvold is a freelance music industry consultant based in Northern California. Having launched Michael Brandvold Marketing to leverage his years of experience to provide direction to large and small clients in the areas of online & social marketing as well as e-commerce and customer acquisition and retention.
Gene Simmons of KISS first tapped Michael's skills as a pioneering online marketing strategist to launch and manage all aspects of Kissonline.com's multi-million dollar enterprise, including their ground-breaking VIP ticket program.
Michael has also managed the online efforts for SOiL, Tantric, Killer Dwarfs, Accept, RussDwarf, Dream Theater, Little Caesar, BillOrtiz, Motley Crüe, Rod Stewart, Madonna, Ozzy Osbourne, Madonna and Britney Spears to name only a few.
If you are interested in speaking with Michael about what he can do to assist with your marketing needs contact him online at www.MichaelBrandvold.com

ASCAP BMI SESAC....which one is right for YOU??

I discuss the pros and cons of the three main Performing Rights Organizations of North America.
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30:00

BMI TV Presents: Venice Hit House

http://www.bmi.com/hit_house
About BMI
Celebrating 75 years of service to songwriters, co...

BMI TV Presents: Venice Hit House

http://www.bmi.com/hit_house
About BMI
Celebrating 75 years of service to songwriters, composers, music publishers and businesses, Broadcast Music, Inc.® (BMI®) is a global leader in music rights management, serving as an advocate for the value of music. BMI represents the public performance rights in more than 8.5 million musical works created and owned by more than 600,000 songwriters, composers, and music publishers. The Company negotiates music license agreements and distributes the fees it generates as royalties to its affiliated writers and publishers when their songs are performed in public. In 1939, BMI created a groundbreaking open-door policy becoming the only performing rights organization to welcome and represent the creators of blues, jazz, country, and American roots music. Today, the musical compositions in BMI's repertoire, from chart toppers to perennial favorites, span all genres of music and are consistently among the most-performed hits of the year. For additional information and the latest BMI news, visit www.bmi.com, follow us on Twitter @BMI or stay connected through Broadcast Music, Inc.'s Facebook page.

SUPER RARE SPECIAL REPORT: "THE MUSIC INDUSTRY"

The music industry consists of the companies and individuals that earn money by creating new songs and pieces and selling live concerts and shows, audio and video recordings, compositions and sheet music, and the organizations and associations that aid and represent creators. Among the many individuals and organizations that operate in the industry are: the songwriters and composers who create new songs and musical pieces; the singers, musicians, conductors and bandleaders who perform the music; the companies and professionals who create and sell recorded music and/or sheet music (e.g., music publishers, music producers, recording studios, engineers, record labels, retail and online music stores, performance rights organizations); and those that help organize and present live music performances (sound engineers, booking agents, promoters, music venues, road crew).
The industry also includes a range of professionals who assist singers and musicians with their music careers (talent managers, artists and repertoire managers, business managers, entertainment lawyers); those who broadcast audio or video music content (satellite, Internet radio stations, broadcast radio and TV stations); music journalists and music critics; DJs; music educators and teachers; musical instrument manufacturers; as well as many others. In addition to the businesses and artists who work in the music industry to make a profit or income, there are a range of organizations that also play an important role in the music industry, including musician's unions (e.g., American Federation of Musicians), not-for-profit performance-rights organizations (e.g., AmericanSociety of Composers, Authors and Publishers) and other associations.
The modern Western music industry emerged between the 1930s and 1950s, when records replaced sheet music as the most important product in the music business. In the commercial world, "the recording industry"–a reference to recording performances of songs and pieces and selling the recordings–began to be used as a loose synonym for "the music industry". In the 2000s, a majority of the music market is controlled by three major corporate labels: the French-owned Universal Music Group, the Japanese-owned Sony Music Entertainment, and the US-owned Warner Music Group. Labels outside of these three major labels are referred to as independent labels (or "indies"). The largest portion of the live music market for concerts and tours is controlled by Live Nation, the largest promoter and music venue owner. Live Nation is a former subsidiary of iHeartMedia Inc, which is the largest owner of radio stations in the United States.
In the first decades of the 2000s, the music industry underwent drastic changes with the advent of widespread digital distribution of music via the Internet (which includes both illegal file sharing of songs and legal music purchases in online music stores). A conspicuous indicator of these changes is total music sales: since 2000, sales of recorded music have dropped off substantially while live music has increased in importance. In 2011, the largest recorded music retailer in the world was now a digital, Internet-based platform operated by a computer company: Apple Inc.'s online iTunes Store.

NOVI FOSILI - mini koncert ( Ohrid Fest 2015 )

Ohrid FestOhridski Trubaduri Internacionalna Vecer
Specijalni gosti na internacionalna vecer
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Here's a quick (kinda) overview of the 3 US based Performance Rights Organizations (PROs). Feel free to add anything I left out in the comments. I just wanted to give you a general idea of each and what they basically do.
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I refer to the article, “Hong Kong pedestrian zone to be scrapped after more than 1,000 complaints about Mong Kok street performers”, May 17). Some politicians have suggested a licensing plan for performers, but I disagree. A licensing system would not be effective in solving the problem of noise. The street performers would move to other pedestrian zones and the situation would remain unchanged ... There would be only a... ....

Gqom queen Babes Wodumo has been going through the most this past week but is carrying on with business as usual as she is set to perform at UmlaziPicnic in Durban... "Babes has to perform because she ......

Gqom queen Babes Wodumo has been going through the most this past week but is carrying on with business as usual as she is set to perform at UmlaziPicnic in Durban... "Babes has to perform because she ......

With all Montessori and kindergartens reopening on June 1, many parents are rushing to Sringeri, a remote town of Chikkamagaluru district to perform aksharabhyasa (initiation of education) of their kids at the famed Sharada Peetham. Except on new moon days, this ritual is performed every day at the temple ... "We could not perform this seva during Dasara ... On Fridays, more people perform it....

"August. Osage County" concludes its run at The Center for Performing Arts at Rhinebeck, 661 Route 308, Rhinebeck, with performances Friday and Saturday, May 25 and 26, at 7.30 p.m. and Sunday, May 27, at 3 p.m. A sharp-tongued, pill-popping matriarch, her alcoholic poet husband, their three grown daughters and a menagerie of extended family members reunite at the Weston family homestead ... ....

BOZRAH- Chorus and band students at FieldsMemorialSchool will perform Thursday night at the annual Spring Arts Night and Concert.The event will begin at 6 p.m. with an arts showcase, featuring artwork from students in kindergarten through grade 8. The viewing will be followed by performances from the chorus, concert band and symphonic band at 7 p.m., PrincipalMark Westkott said.The event is always popular, [...] ... ....